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|Discipline and Nbr:
CHICANO/A ARTS & LIT.||
Chicano/Chicana Arts & Literature
|Units||Course Hours per Week|| ||Nbr of Weeks||Course Hours Total
|Maximum||3.00||Lecture Scheduled||3.00||17.5 max.||Lecture Scheduled||52.50
|Minimum||3.00||Lab Scheduled||0||14 min.||Lab Scheduled||0
| ||Contact DHR||0|| ||Contact DHR||0
| ||Contact Total||3.00|| ||Contact Total||52.50
| ||Non-contact DHR||0|| ||Non-contact DHR Total||0
Title 5 Category:
AA Degree Applicable
Grade or P/NP
00 - Two Repeats if Grade was D, F, NC, or NP
Also Listed As:
| ||Total Out of Class Hours: 105.00||Total Student Learning Hours: 157.50||
An introductory survey of contemporary and traditional literature, drama, cinema, art, and music created by those identified as Chicanas/Chicanos.
Completion of Engl 1A with a "C" or better.
Limits on Enrollment:
Schedule of Classes Information
An introduction to contemporary & traditional literature, drama, cinema, art, & music created by identified Chicanas/Chicanos. An examination of this group's literature & arts, addressing major theoretical & analytical issues relevant to understanding the dynamic interactions between gender, race, and ethnicity in the United States.
(Grade or P/NP)
Prerequisites:Completion of Engl 1A with a "C" or better.
Limits on Enrollment:
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP
ARTICULATION, MAJOR, and CERTIFICATION INFORMATION
Major Applicable Course
Outcomes and Objectives:
At the conclusion of this course, the student should be able to:
|Associate Degree:||Effective:||Fall 1981||Inactive:||
American Cultures/Ethnic Studies
|CSU GE:||Transfer Area|| ||Effective:||Inactive:
| ||C2||Humanities||Spring 1991||
|IGETC:||Transfer Area|| ||Effective:||Inactive:
| ||3B||Humanities||Fall 1981||
|CSU Transfer:||Transferable||Effective:||Fall 1981||Inactive:||
|UC Transfer:||Transferable||Effective:||Fall 1981||Inactive:||
By the end of the course, students will be able to:
1. Identify the historical patterns which have influenced
Chicano/Chicana literary and artistic production through reading
and view works by Chicano/Chicana artists.
2. Identify the traditions of Chicano/Chicana literary and artistic
development within generations developed both in the New and in the
3. Identify the stereotypical and archetypal use of Chicanos/Chicanas
in literature, drama, cinema, art, and music.
4. Survey the discipline of Chicano Studies and apply the principles
therein to the study of literature and arts.
5. Analyze historical, sociological, and psychological trends which
have influenced the role of Chicano/Chicana writers, filmmakers,
artists, and musicians all of which provide insight into the study of
these creative minds.
6. Identify the central themes within the emerging tradition
of Chicano/Chicana writers, filmmakers, artists, and musicians.
7. Identify the role of race, gender, and class on literary and
artistic production, on publication and display, and on public
8. Examine Chicano/Chicana literature and arts, addressing major
theoretical and analytical issues relevant to understanding the
dynamic interactions among gender, race and ethnicity in the United
Topics and Scope
I. What is Literature and what is Art?
A. Methods of cultural and individual expression.
B. Forms of Expression peculiar to the Chicana/Chicano experience.
1. la poesia,
2. el cuento (short story),
3. la novella,
4. el teatro,
5. la pelicula (film),
6. saber popular (folklore), et al.
II. What is the function of Literature and of Art?
A. Literary and artistic function according to the traditional
Western Civilization approach, e.g., classical aesthetics,
Romantic, Renaissance, Modern.
B. Literature and art as a tool for the national instruction of
1. The Marxist-Maoist approach, as a tool for the
creation of a political consciousness.
2. Cultural comparisons will include non-Chicano Latinos/
Latinas, European Americans, and Indigenous Peoples
found in the Spanish-speaking communities of the
Western and Southwestern United States.
C. The function of literature within the artistic setting.
D. Literature and art as more than just cultural artifacts.
E. The evolution of a culture, of a literature, and of art.
III. Chicana/Chicano Literature and Art.
A. A political/cultural/historical/aesthetic phenomenon.
B. Popular prose.
C. The voice of the people: poetry.
D. Towards a dialectic of truth.
E. Short story and novel
1) the historical novel,
2) the mythic/folkloric novel,
3) the creation of a new literary novel-like genre,
4) the affirmation of the Chicana/Chicano "Me".
A. Techniques and methodologies of criticism.
B. Literary and artistic critical paradigms.
C. The truth of the New World .
D. The realities of cultural conflicts.
A. Personal reactions to the literature and to the art.
B. Continuing the tradition.
C. A creation of a piece of Chicana/Chicano literature and/or art.
Assignments may include:
1. Detailed Summaries
2. Reading Response Journals
3. Short Critical Response papers (500 to 1,000 words)
4. Term Papers including extensive library research with complete and
correct MLA documentation
5. Short Library Research assignments
6. Personal Response papers in reaction to readings, videos, lectures,
plays, and performances
7. Group or Individual presentations about particular works, authors,
schools of criticism, time periods, or literary styles
8. Reading of varying lengths, including poetry, short stories, plays,
novels, and literary criticism
9. Viewing videos outside the classroom setting
10. Essay examinations
11. Objective examinations and quizzes
12. Field trips to see plays, poetry readings, music, or dance
13. Participation in class discussions.
Methods of Evaluation/Basis of Grade.
Representative Textbooks and Materials:
|Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.||Writing
50 - 75%
|Written homework, Reading reports, Term papers||
|Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.||Problem Solving
0 - 0%
|Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.||Skill Demonstrations
0 - 0%
|Exams: All forms of formal testing, other than skill performance exams.||Exams
10 - 25%
|Completion, Essay exams||
|Other: Includes any assessment tools that do not logically fit into the above categories.||Other Category
15 - 25%
|ORAL PRESENTATION, PARTICIPATION IN CLASS DISCUSSION||
Alarcon, Francisco X. NO GOLDEN GATE FOR US, Santa Fe, Pennywhistle
Alarcon, Francisco, X. SNAKE POEMS: AN AZTEC INVOCATION, San Francisco,
Chronicle Books, 1992.
Anaya, Rudolfo, BLESS ME, ULTIMA. New York, Time Warner, 1999.
Anzaldua, Gloria. BORDERLANDS, LA FRONTERA, 2d ed. San Francisco, Aunt
Lute Foundation Press, 1999.
Cisneros, Sandra. WOMAN HOLLERING CREEK, New York, Random House, 1991.
Galarza, Ernesto. BARRIO BOY, Notre Dame U. Press, 1971.
Gonzalez, Ray, ed. MIRRORS BENEATH THE EARTH, Willamantic, CT, Curbstone
Moraga, Cherrie and Gloria Anzaldua, eds. THE BRIDGE CALLED MY BACK,
2d ed., New York, Kitchen Table, Women of Color Press, 1983.
Valdez, Luis. ZOOT SUIT AND OTHER PLAYS. Houston, Arte Publico Press,